Paintings

Victorian Oil Painting of a Blacksmith Forge with Figures and a Horse in a Smithy Interior. Small Oil on Panel in its original gilt frame in excellent condition. A real find, depic...

➡️Rustic Cottage in a Woodland Clearing⬅️ ☀️Subject & Setting☀️ A thatched-roof cottage sits in a clearing surrounded by dense, slender trees with soft foliage. A winding dirt path ...

"View over the Town" by Geneviève Zondervan (French 1922-2013) oil painting on board, unframed Size 8.75 x 12.5 inches The painting could not have better provenance - having come fr...

Loch Katrine in the Scottish Highlands Landscape Vintage Painting. A beautiful realist oil painting of the Scottish Highlands from a highly respected British Artist. Art measures 36...

Provence Landscape by Paul-Louis Bolot (French 1918-2003) signed & dated 66'' oil on canvas in wooden frame framed: 22.5 x 19 inches canvas: 22 x 18 inches original oil painting con...

In "Between the Lines," Sophie Dumont masterfully transforms the canvas into a visual symphony using her expert knife painting technique. This painting, measuring 65 x 54 cm, is dist...

This bright summer beach painting holds a surprise if you look closely. What seems like a young couple just spending a day at the shore together, actually tells a story. The young wo...

Pocket Haybales, Late Summer, Landscape Collection is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings...

Hunt Slonem "Air & Earth" Blue Bunny and Butterfly Painting A single rabbit and butterfly gestured in black and white on a blue background in a vintage frame Unframed: 11 x 9 inches...

Bennett Oates, Fine Quality English late 20th century Still life of wild flowers in a vase. Oates was an English painter of flower subjects during the last half of the 20th centur...

Robert Wood (G. Day) (1889 -1979) San Antonio Artist Image Size: 24 x 36 Frame Size: 34 x 46 Medium: Oil on Canvas "Texas Autumn" Biography Robert Wood (G. Day) (1889 -1979) A painte...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

"The Corn Bill" English Artist, circa 1840's oil on canvas, framed in antique gilt scrolled and swept frame framed: 45 x 37 inches canvas: 36 x 28 inches provenance: private collection, UK condition: very good and sound condition; please note the frame is very vulnerable and fragile and as such we are happy to include it free of charge with the painting but cannot warranty its condition on arrival. Historically significant portrait of this early Victorian...

Indian Miniature

Green and white abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is ...

Oil on canvas. Provenance: Miss Mure of Perceton; Anonymous Sale; Sotheby’s, New York, 9 June 1989, lot 97 Exhibited: Rountree Tryon, 2015 Sporting Exhibition Literature: J.N.P. W...

Oil on panel realized by Miloslava Vrbova (1909-1991) in the mid-20th century. Includes frame, good condition.

This piece, "City Spectrum", is a 36x36 oil painting on canvas by artist Benoit Havard featuring a moody view from above bustling Manhattan, NYC. Buildings in perspective line the st...

Stylized picture with polar bear in the ice .Working on an animalistic painting, the artist, in addition to compositional tasks, wants to convey the character and mood of the depict...

This painting depicts a colorful Mid Century Street in Paris France, a popular subject of the times painted by many important impressionist 20th Century painters. This piece is a bol...

This is a one-of-a-kind original acrylic painting on canvas in a vibrant abstract style by contemporary artist Serg Graff, titled "Underwater Dream." The composition bursts with swir...

Artist/ School: Signed by Guy Benard and dated 1984 Title: 'Pont De L'arche' Medium: oil on canvas, unframed and inscribed verso Canvas: 25.5 x 19.75 inches Provenance: private c...

An original American impressionist oil painting of a country road in Maine by Emile Gruppe's cousin, American artist Haley B. Nell. Not much else is known about Nell, although the a...

Barbara Robinson is a leading contemporary artist of the classical school. His paintings are figurative, although sometimes bordering on the abstract....

Jacob Ochtervelt (Workshop) The Grape Seller oil on canvas unframed: 80.7 x 61 cm.; 31 ¾ x 24 in. framed: 109.5 x 89 cm.; 43 1/8 x 35 in. Essay: This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society. At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side. The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself. The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm. Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror...

Title: Carrer de la Vilanoveta Artist: Rafael Monzó (Sitges, 1952) Year: 1979 Medium: Oil on canvas Dimensions: 18.1 x 15 inches (21.7 x 18.5 inches framed) Signature: Lower lef...

Of Germanic descent, the painter Jean Krillé was born in 1923 in Switzerland. His father, writer and poet, oriented him towards art and culture. From the age of 16, he enrolled at th...

A large tonal, Mid-Century harbor scene with boats by French artist Georges Rocher. Artwork size: 24" x 30". Framed size: 31" x 36". Georges Rocher was born in Casablanca, Moroc...

Here for your consideration is a late 19th century still life with fruit by the well known British artist, Henry George Todd. Signed lower left a...

Title: Modern French Oil Painting Woman Reading in a Chair Figurative Interior Scene by Bernadette Kelly (French b. 1933) Unsigned Medium: oil p...

Wildlife Collection: Pocket Goldfinch is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod ...

Title: British Impressionist Watercolor of a Rural Farmstead with Grazing Cows By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes Dimensi...

As a French Impressionist artist, most of the Delarue's works were produced in the Mid-20th Century. He was known for his charming compositions and with a passion to portray life by ...

Impressive early American modernist abstract oil painting. Framed. Oil on board. Image size, 36H by 28L.

Provencal Landscape by Louis Bellon (French 1908-1998) inscribed verso From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed measureme...

Nicely painted Flamenco dancer portrait. Framed. Oil on board. Signed. Image size, 20H by 16L.

Jasper F. Cropsey Janetta Falls, New Jersey, circa 1846 Signed J.F. Cropsey Oil on canvas 12½ x 10¾ inches Provenance Private Collection, New York, 1930s Thence by descent to the pr...

Maura Petersen (American, born 1956) "Joan" 2021 Acrylic Paint, Canvas, Stretcher Bars The artist signed the bottom right of the painting. Maura Petersen’s Joan captures a quiet, in...

Signed oil on panel landscape by Italian impressionist painter Emma Ciardi. The work depicts a view of the Rio de San Barnaba which runs through Venice, It...

A bright and beautiful Canadian modernist landscape. This unsigned work has a label on the reverse from a Canadian gallery and an inventory number and stamp from a collector in NYC....

Interior design paintings. Abstraction art, made in black, orange, yellow on white foam board. Also, you can read name Sasha in Russian at the middle of the painting. Can be as a s...

A late 17th century, devotional oil showing the Virgin Mary with Jesus and St. John the Baptist. Displayed in a fine and period, hand-carved and gilt-wood frame. Framed dimensions: ...

Signed lower left, 'Pauline Palmer' (American, 1867-1938) and painted circa 1915, two years after the artist's first solo exhibition at the Art Institute of Chicago. Exhibited: Chicago Galleries Association and titled, 'Sunny Yards' (attached, partial label from original frame) A staunch proponent of pure Impressionism at the turn of the twentieth century, Pauline Palmer influenced the world of American art far beyond her Midwestern art community. Primarily known for her landscapes and portraits, Palmer rejected the waves of modernism that hit the United States in the teens and twenties, remaining true to the traditions of Impressionism. In 1923, she established the Association of Chicago Painters and Sculptors as an alternative to the increasing number of institutions celebrating Abstraction and Cubism. Pauline Palmer was enrolled at the Art Institute of Chicago from 1893 to 1898, and studied with some of the most prominent artists of the period, including William Merritt Chase and Frank Duveneck. Following her graduation, Palmer moved to Paris and attended the Académie de la Grande Chaumiére and the Académie Colarossi, where she studied under Raphael Collin. While in France, she exhibited with success including at the Paris Salon each year from 1903-06 and, again, in 1911. Her principal teacher and friend in Paris was the American Impressionist, Richard Emil Miller, whose shimmering handling of light made a profound impression upon her. Palmer also traveled extensively throughout Europe, a rite of passage for aspiring artists of her time. Returning to Paris, she studied with Gustave Courtois and Lucien Simon, both exemplars of compositional structure. Upon her return to the United States, Palmer set up her first American studio in the legendary Tree Studios building in Chicago. The artist's husband, Dr. Albert Palmer, whom she had married in 1891, both supported and encouraged his wife's artistic development. The couple kept a summer home in Provincetown, Massachusetts, where she made friends with many of the Portuguese fishermen's families, often using their children and the routines of their daily lives as subject matter for her painting. Pauline Palmer exhibited widely and with success, including in Italy, France, Norway and throughout the United States. Her works were shown at the National Association of Women Painters and Sculptors and, beginning in 1899, she exhibited at the Art Institute of Chicago for twenty-seven consecutive years. Over the course of her long career, she exhibited over 250 paintings at the Art Institute of Chicago, including at two solo exhibitions. She was the recipient of numerous prizes, medals and juried awards including nearly all the AIC's major awards, purchase prizes and honorable mention citations. Palmer also received a gold medal from the Colarossi Academy in Paris. Involved in numerous artist organizations, she was a member of the Chicago Municipal Art League, the Chicago Art Guild, the Chicago Arts Club and a charter member of the Chicago Women's Salon. Elected the first woman president of the Chicago Society of Artists, she went on to serve as president of both the Art Institute Alumni Association and the Chicago Association of Painters and Sculptors. Considered by the Modernists of her day to be a traditionalist, Pauline Palmer remained true to her artistic vision and she continues to be regarded as one of the leading women of American Impressionism. Her light-filled, colorful compositions captured landscapes and scenes of American daily life with unusual freshness and seeming effortlessness. Celebrated during her life as "Chicago's Painter Lady," Palmer was honored twelve years after her death by a posthumous retrospective at the Art Institute of Chicago and the establishment of an annual scholarship awarded in her honor by the Art Institute of Chicago. (with thanks to Hali Thurber) CHRONOLOGY 1867, Born in McHenry, IL 1885, Moves to Chicago to teach art 1891, Marries Dr. Albert Elwood Palmer 1893, Exhibits, World's Columbian Exposition, Chicago 1896, First exhibits at the Art institute of Chicago 1898, Exhibits at Exposition in Omaha, NE 1899, First exhibit, Pennsylvania Academy of Fine Arts 1900-1902, Studies with various artists in Paris 1901, Exhibits at Exposition in Buffalo 1903-1906, Exhibits at Paris Salon 1904, Exhibits at Universal Exposition in St. Louis, 1907, Four prizes at the Art Institute of Chicago 1911, Exhibits at the Paris Salon 1911, Exhibits at the Expositione de Belle Arti, Naples 1913, Solo exhibition, Art Institute of Chicago 1915, First prize, Society of Western Artists 1917, Opens first American studio in Chicago 1918, First woman president, Chicago Society of Artists 1918-1929, holds position of president for 11 years 1918-1921, Silver medals, Society of Chicago Artists 1921, Silver medal at Peoria Society of Allied Artists 1927, President, The Art Institute Alumni Association 1929-1931, President, Chicago Association of Painters and Sculptors 1938, Dies, Trondheim, Norway AWARDS 1904, Universal Exposition in St. Louis, bronze medal 1907, Art Institute 's Chicago Artists' Exhibition 1915, Society of Western Artists exhibition, first prize 1918, Society of Chicago Artists, silver medal 1921, Peoria Society of Allied, silver medal Solo Exhibitions: 1913, Art Institute of Chicago 1939, Art Institute of Chicago, memorial exhibition Union League Club of Chicago, memorial exhibition Group Exhibitions: 1893, World's Columbian Exposition in Chicago 1896, Art institute of Chicago 1898, Exposition in Omaha, NE 1899, Pennsylvania Academy of Fine Arts 1899-1926, Art Institute of Chicago 1901, Exposition in Buffalo 1903-06 Paris Salon 1904, Universal Exposition in St. Louis 1911, Paris Salon 1911, Expositione de Belle Arti, Naples 1915, Exposition in San Francisco 1950, Chicago Galleries Association 1984, Lakeview Museum of Arts and Sciences, Peoria Memberships: 1918-29, First woman President,Chicago Society of Artists 1927, President of The Art Institute Alumni Association 1929-31, President of Chicago Association of Painters and Sculptors Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. X, page 523; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. XXVI, page 129; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. III, page 2512; Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, Glen B. Opitz, Apollo Press 1983, page 708; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. II, page 1047; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, page 326; Pauline Lennards Palmer...

Shipped from Thailand because i am living here in 2025 Acrylic on canvas Shipped well protected, unframed

R. Poch. original acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company La Cosa de las Pe...

Oil on canvas painting of “Bouquet and Figure” by the well known Spanish artist, Ramon Pichot. Signed lower right. Titled and signed verso. In excellent condition. Original gold l...

Neutral toned gestural abstract painting by contemporary artist Ian Francis. The work features a variety of gestural marks in white and black, accented by small beige shapes. Signed,...

The Flagellation of Christ Flemish Baroque, 17th century oil on wood panel, framed framed: 31 x 42 inches wood panel: 19.5 x 26 inches Provenance: pri...

Tableau ancien – Paysage nocturne animé Attribué au cercle de Christian Wilhelm Ernst Dietrich (1712–1774) Huile sur toile – Dimensions : 63 x 48 cm Cadre en bois doré d’époque, rich...

This large landscape oil painting by John Traynor captures a scene in New England. Cows are visible in front of a long picket fence, with a red barn and house behind the fence and lush green trees on either side and along the hills in the horizon. Fluffy, almost abstracted clouds sit above the hills, with a patch of blue skies shining through toward the top of the image. The painting is 48" x 72", and 58" x 82" framed. It is professionally framed in a classic, antiqued, gold leaf frame. It is signed by the artist in the bottom right-hand corner of the canvas, and is wired and ready to hang. John C. Traynor's painting style is reminiscent of some 19th century painters and the Dutch Masters. He uses his knowledge of light and color to create a certain mood in each of his works. The creation of atmosphere is an important element in Traynor's paintings. Painting outdoors, on location, is a prime source of inspiration and ideas for his landscapes. John travels extensively, painting the landscapes around him. John was born in 1961 and spent his early years in Chester and Mendham, New Jersey. His art studies began at Delbarton School in Morristown, New Jersey, and from there he furthered his education at Paier College of Art in New Haven, Connecticut. He studied figure painting at the Art Students League of New York, as a merit scholar, with Frank Mason. Traynor continued his studies in Vermont with Mr. Mason on landscape painting, drawing with Carroll N. Jones Jr. of Stowe, Vermont and sculpture with Brother Jerome Cox...

Spray painting on canvas 100% hand painted, very original art Unique piece READY TO HANG

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 17 by 21 inches overall and 16 by 20 painting alone. In excellent original condition. Hands...

An original work by Yvonne Jacquette (1934-2023) Chinatown I, San Francisco, 1983 Pastel on paper Signed lower right: Jacquette Titled verso Sight: 19.5 x 23 inches Framed: 27 x 30....

Barbara Shermund (1899-1978). Showgirls Cartoon for Life Magazine, 1934. Ink, watercolor and gouache on heavy illustration paper, matting window measures 16.5 x 13 inches; sheet measures 19 x 15 inches; Matting panel measures 20 x 23 inches. Signed lower right. Very good condition with discoloration and toning in margins. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...